1 00:00:00,040 --> 00:00:02,240 Speaker 1: Blood on the Tracks is the production of I Heart 2 00:00:02,360 --> 00:00:06,760 Speaker 1: Radio and Double Elvis. Bob Dylan was a musical genius 3 00:00:06,800 --> 00:00:09,640 Speaker 1: and one of the greatest songwriters of all time. He 4 00:00:09,720 --> 00:00:13,880 Speaker 1: didn't follow leaders. He chased that thin, wild mercury sound. 5 00:00:14,440 --> 00:00:17,520 Speaker 1: He never looked back. Even as the times changed, and 6 00:00:17,560 --> 00:00:21,639 Speaker 1: as the times changed, Bob Dylan changed. He tried on 7 00:00:21,760 --> 00:00:25,840 Speaker 1: and discarded identities like they were mass. He transformed. He 8 00:00:25,960 --> 00:00:30,080 Speaker 1: transfigured in somewhere along the way, the Bob Dylan that 9 00:00:30,120 --> 00:00:40,800 Speaker 1: you thought you knew died. This is his story once again. 10 00:00:40,880 --> 00:00:43,720 Speaker 1: This is Dr Ed Sailor here at my home in Middletown, 11 00:00:43,720 --> 00:00:47,280 Speaker 1: New York, reporting on the patient Robert Zimmerman, a k a. 12 00:00:47,400 --> 00:00:53,000 Speaker 1: Bob Dylan. It is August seventh, ninety six, day ten. 13 00:00:53,080 --> 00:00:57,360 Speaker 1: As it were, Bob is finally going home today backwood Stock. 14 00:00:58,000 --> 00:01:01,960 Speaker 1: I don't foresee any longstanding physical problems resulting from his crash, 15 00:01:02,040 --> 00:01:04,120 Speaker 1: but I have requested that he seeks some help for 16 00:01:04,200 --> 00:01:07,520 Speaker 1: what seems to be some mental distress. I shall continue 17 00:01:07,520 --> 00:01:09,560 Speaker 1: to check in on Bob, but right now I'm happy 18 00:01:09,560 --> 00:01:11,880 Speaker 1: he's in good health, and I don't see that changing 19 00:01:11,920 --> 00:01:23,600 Speaker 1: anytime soon. Change. That's what we've been talking about all 20 00:01:23,640 --> 00:01:29,360 Speaker 1: this time. That's all we've ever talked about. Trees grow tall, 21 00:01:30,120 --> 00:01:35,920 Speaker 1: leaves fall, rivers dry up, and flowers die. New people 22 00:01:35,959 --> 00:01:40,920 Speaker 1: are born every day. Life doesn't stop. Sometimes things can 23 00:01:41,000 --> 00:01:44,800 Speaker 1: change in an instant, a gunshot to the head, a 24 00:01:44,840 --> 00:01:50,280 Speaker 1: man losing control of a motorbike. But sometimes things can 25 00:01:50,280 --> 00:01:53,880 Speaker 1: take years to change, even when there is no change 26 00:01:54,400 --> 00:01:57,840 Speaker 1: that itself can bring about. Change, a lack of change 27 00:01:57,840 --> 00:02:00,640 Speaker 1: in the world can change a person. It can make 28 00:02:00,680 --> 00:02:06,559 Speaker 1: them bitter and disillusioned, it can ruin them. Transfiguration is change. 29 00:02:07,760 --> 00:02:10,360 Speaker 1: As I've grown older, I've realized that as I've moved 30 00:02:10,400 --> 00:02:14,720 Speaker 1: through these lives, I've taken a bit of each of them. 31 00:02:14,760 --> 00:02:19,119 Speaker 1: They have informed me in some way. But you're never 32 00:02:19,160 --> 00:02:24,000 Speaker 1: through with this. Change never stops the times they are changing, 33 00:02:24,639 --> 00:02:27,079 Speaker 1: and all the rest of those so called voice of 34 00:02:27,120 --> 00:02:32,120 Speaker 1: a generation words from so many generations ago. There's always 35 00:02:32,160 --> 00:02:38,800 Speaker 1: another day, another sunrise, more ideas, more conversation, more blood 36 00:02:39,040 --> 00:03:18,680 Speaker 1: on the tracks. Chapter ten, Bob Dylan's Restless Farewell. I 37 00:03:18,720 --> 00:03:23,400 Speaker 1: have a confession to make. I've been I've been lying 38 00:03:23,440 --> 00:03:26,440 Speaker 1: to you. I said some things that just aren't true, 39 00:03:27,400 --> 00:03:34,200 Speaker 1: but I had my reasons. Little Richard, Dad, last week, 40 00:03:35,560 --> 00:03:39,920 Speaker 1: I'm so aggrieved. He was my shining star, the guiding light, 41 00:03:39,960 --> 00:03:43,080 Speaker 1: back when I was only a little boy. His was 42 00:03:43,120 --> 00:03:45,560 Speaker 1: the original spirit that moved me to do everything I 43 00:03:45,600 --> 00:03:48,400 Speaker 1: would do. So what am I supposed to do? Now? 44 00:03:49,120 --> 00:03:55,080 Speaker 1: Trees grow, tall, leaves fall, rivers dry up, and flowers die. 45 00:03:56,200 --> 00:03:58,000 Speaker 1: One of the first songs I ever wrote was about 46 00:03:58,040 --> 00:04:01,080 Speaker 1: little Richard. Go and look for it and you'll find it. 47 00:04:02,080 --> 00:04:03,840 Speaker 1: It was in high school with a buddy of mine. 48 00:04:04,440 --> 00:04:07,040 Speaker 1: We recorded it in my old house at my mother's piano. 49 00:04:08,360 --> 00:04:11,720 Speaker 1: That was so long ago, so long I wasn't even 50 00:04:11,760 --> 00:04:16,960 Speaker 1: born yet. Now Little Richard is no longer here. It's 51 00:04:17,000 --> 00:04:20,200 Speaker 1: like a part of my life has gone to transfiguration 52 00:04:20,240 --> 00:04:25,279 Speaker 1: has change. Death is everywhere in this world right now. 53 00:04:25,960 --> 00:04:29,920 Speaker 1: It lingers around the corner. It waits silently. I can 54 00:04:29,960 --> 00:04:33,839 Speaker 1: feel it wherever I go. But you know, like I 55 00:04:33,920 --> 00:04:38,720 Speaker 1: keep saying, death isn't always the end. There's always another day. 56 00:04:41,000 --> 00:04:46,719 Speaker 1: Sometimes it's the start. Transfiguration can take many different forms. 57 00:04:46,760 --> 00:04:49,680 Speaker 1: Sometimes something can happen and later you process it, you 58 00:04:49,800 --> 00:04:53,440 Speaker 1: incorporated into a new life. If you don't understand that 59 00:04:53,480 --> 00:04:57,960 Speaker 1: by now, then you haven't been listening closely enough. The 60 00:04:58,000 --> 00:05:00,440 Speaker 1: way I feel about little Richard reminds me how I 61 00:05:00,480 --> 00:05:04,560 Speaker 1: felt the nineteen sixty three when someone else passed. I 62 00:05:04,600 --> 00:05:07,040 Speaker 1: remember running up the stairs of our old apartment building 63 00:05:07,080 --> 00:05:10,440 Speaker 1: on Avenue B. I was shouting, shouting at the top 64 00:05:10,440 --> 00:05:15,359 Speaker 1: of my lungs. Is it true? Is it true? Deep 65 00:05:15,400 --> 00:05:17,560 Speaker 1: down I knew it was true, of course, I just 66 00:05:17,600 --> 00:05:23,800 Speaker 1: didn't want to believe it never stops. I crashed into 67 00:05:23,880 --> 00:05:26,800 Speaker 1: our apartment and saw Susie, my girlfriend at the time, 68 00:05:27,200 --> 00:05:30,440 Speaker 1: sitting on our old rickety couch, with her sister Carla. 69 00:05:31,320 --> 00:05:33,960 Speaker 1: Carla lived with us, and usually we didn't get along, 70 00:05:34,000 --> 00:05:39,080 Speaker 1: but that day it didn't matter. Nothing mattered. I yelled 71 00:05:39,120 --> 00:05:42,440 Speaker 1: at them to put the TV on. Carla clicked the 72 00:05:42,480 --> 00:05:46,880 Speaker 1: old black and white box on nothing some crummy soap opera. 73 00:05:48,000 --> 00:05:51,640 Speaker 1: What's wrong, she asked, But before I could answer, the 74 00:05:51,680 --> 00:05:56,040 Speaker 1: soap opera fell silent, and old Cronkite's voice appeared. He 75 00:05:56,120 --> 00:05:58,760 Speaker 1: didn't even have a camera on him, just his voice 76 00:05:58,760 --> 00:06:01,880 Speaker 1: in the blackness of the screen. He said words that 77 00:06:01,920 --> 00:06:06,760 Speaker 1: I'll never forget. In Dallas, Texas, three shots were fired 78 00:06:06,800 --> 00:06:10,680 Speaker 1: at President Kennedy's motorcade. The first reports say the president 79 00:06:10,720 --> 00:06:17,719 Speaker 1: had been seriously wounded. I froze up. We all did. 80 00:06:18,800 --> 00:06:22,279 Speaker 1: The world outside seemed to stop too. For the first 81 00:06:22,279 --> 00:06:25,159 Speaker 1: time in its history, New York City just ground to 82 00:06:25,200 --> 00:06:29,080 Speaker 1: a halt. Moments later, Cronkite was back on the screen, 83 00:06:29,120 --> 00:06:33,200 Speaker 1: showing us images, such awful images, the gunshot to the head. 84 00:06:35,360 --> 00:06:38,479 Speaker 1: I've seen them a thousand times since, from different angles, 85 00:06:38,760 --> 00:06:44,119 Speaker 1: different portrayals, with different opinions imprinted on them. But these days, 86 00:06:44,279 --> 00:06:47,159 Speaker 1: when I look back, whenever I think about what happened 87 00:06:47,200 --> 00:06:50,279 Speaker 1: that day, I see that little black and white TV screen. 88 00:06:51,440 --> 00:06:54,880 Speaker 1: It's the image that resonates most. I can see it now, 89 00:06:55,960 --> 00:06:58,919 Speaker 1: the shot going into his head, plume of red on 90 00:06:58,960 --> 00:07:01,800 Speaker 1: the other side, flesh and bone on the back of 91 00:07:01,800 --> 00:07:05,479 Speaker 1: the car, the way his wife crawled after it. Sometimes 92 00:07:05,520 --> 00:07:10,880 Speaker 1: things can change in an instant. God, it was so shocking. 93 00:07:12,120 --> 00:07:13,520 Speaker 1: If I had known what I was going to see 94 00:07:13,560 --> 00:07:17,760 Speaker 1: that day, I would have walked out of there straight away. 95 00:07:17,800 --> 00:07:22,800 Speaker 1: But then again, maybe not. I've never shied away from change, 96 00:07:23,040 --> 00:07:27,440 Speaker 1: you know that, And for good or bad, this was change. 97 00:07:30,200 --> 00:07:33,240 Speaker 1: I stuck to that TV for days. I didn't leave 98 00:07:33,240 --> 00:07:38,800 Speaker 1: the apartment. Carla kept crying, Susie kept crying. I kept crying. 99 00:07:39,880 --> 00:07:42,480 Speaker 1: It felt like any sense of hope we'd had, any 100 00:07:42,520 --> 00:07:46,600 Speaker 1: sense of freedom, any sense of change was gone, gone 101 00:07:46,680 --> 00:07:50,760 Speaker 1: in an instant. Fear seemed to rise out of it. All. 102 00:07:51,560 --> 00:07:58,320 Speaker 1: Everything about it was endless speculation, the questions, the morning funeral, 103 00:07:59,400 --> 00:08:02,680 Speaker 1: the whole country tree. No, the whole world was cast 104 00:08:02,760 --> 00:08:07,520 Speaker 1: into purgatory. Trees grow tall, leaves fall, rivers dry up, 105 00:08:07,720 --> 00:08:13,960 Speaker 1: and flowers die. It affected me, of course, how could 106 00:08:14,000 --> 00:08:17,400 Speaker 1: it not. I felt the sense that I had to 107 00:08:17,400 --> 00:08:21,800 Speaker 1: react to it. So I wrote. I wrote and wrote 108 00:08:21,840 --> 00:08:25,160 Speaker 1: and wrote on that old couch. I wrote with the 109 00:08:25,200 --> 00:08:27,840 Speaker 1: black and white TV flickering in front of me. It 110 00:08:27,960 --> 00:08:31,400 Speaker 1: became my candle light. I tried to get my feelings 111 00:08:31,440 --> 00:08:34,960 Speaker 1: down about it, but I couldn't. I just I couldn't 112 00:08:34,960 --> 00:08:38,520 Speaker 1: make it right. I couldn't process it. All I could 113 00:08:38,520 --> 00:08:42,839 Speaker 1: see was the blood, the flesh, Jackie, the gunshot to 114 00:08:42,920 --> 00:08:48,280 Speaker 1: the head. It wasn't like real life. It was like 115 00:08:48,320 --> 00:08:55,120 Speaker 1: a movie. It was melodramatic, tasteless, grotesque, A man losing control. 116 00:08:58,120 --> 00:09:00,880 Speaker 1: After two days of trying to write and fail, I 117 00:09:00,920 --> 00:09:03,120 Speaker 1: threw the pen down and cried as they replayed the 118 00:09:03,160 --> 00:09:06,920 Speaker 1: whole bloody scene again on the TV. I didn't know 119 00:09:06,960 --> 00:09:09,960 Speaker 1: where to go. It was like the world we knew 120 00:09:10,000 --> 00:09:13,000 Speaker 1: had died and we were moving into something completely new. 121 00:09:13,400 --> 00:09:21,720 Speaker 1: Life doesn't stop. I couldn't make sense of it. It's 122 00:09:21,760 --> 00:09:25,400 Speaker 1: now fifty seven years later. I'm thinking about that day 123 00:09:25,440 --> 00:09:27,320 Speaker 1: all over again as I walk up the stairs of 124 00:09:27,360 --> 00:09:31,400 Speaker 1: Sound City Studio and Van Nuys. A new year is 125 00:09:31,480 --> 00:09:34,559 Speaker 1: upon us, but it's under threat from a virus, or 126 00:09:34,600 --> 00:09:39,080 Speaker 1: so they say. But I'm not thinking about that today. No, 127 00:09:40,080 --> 00:09:44,800 Speaker 1: I'm concentrating on my music, one song in particular. I 128 00:09:44,920 --> 00:09:47,320 Speaker 1: walked into the large performance room and sit in front 129 00:09:47,320 --> 00:09:51,520 Speaker 1: of a microphone. Let battle commence, I muttered to myself. 130 00:09:52,120 --> 00:09:57,920 Speaker 1: Change never stops. A call from the control booth asks 131 00:09:57,920 --> 00:10:00,520 Speaker 1: if I'm ready. The whole band it is in front 132 00:10:00,559 --> 00:10:03,719 Speaker 1: of me. There's tension in the air, but that's good 133 00:10:03,760 --> 00:10:07,679 Speaker 1: when you're making a record. They asked me again from 134 00:10:07,679 --> 00:10:11,000 Speaker 1: the booth if I'm ready for a take. I closed 135 00:10:11,000 --> 00:10:14,920 Speaker 1: my eyes in reply, Just give me a minute. With 136 00:10:15,040 --> 00:10:17,760 Speaker 1: my eyes closed, I can see it again, the black 137 00:10:17,800 --> 00:10:23,240 Speaker 1: and white TV, old Cronkite, the car Jackie, the blood 138 00:10:25,440 --> 00:10:30,319 Speaker 1: rivers dry up. That voice from the control booth asks 139 00:10:30,320 --> 00:10:32,400 Speaker 1: again if I'm ready or if I need to take five. 140 00:10:33,720 --> 00:10:37,480 Speaker 1: I'm okay, I'm ready to go, I tell him. I 141 00:10:37,559 --> 00:10:39,560 Speaker 1: opened my eyes and look at the lyric page in 142 00:10:39,559 --> 00:10:44,120 Speaker 1: front of me. It starts with A dark day in Dallas, November. 143 00:10:46,800 --> 00:10:49,320 Speaker 1: The band starts, and instantly I feel like I'm singing 144 00:10:49,360 --> 00:10:53,120 Speaker 1: for that other person, that little boy who had almost forgotten, 145 00:10:53,679 --> 00:10:55,960 Speaker 1: sitting on that old sofa under the flicker of the 146 00:10:56,080 --> 00:10:58,839 Speaker 1: TV in New York, trying to write down what he 147 00:10:58,960 --> 00:11:04,480 Speaker 1: just witnessed right through with this. Seventeen minutes later, as 148 00:11:04,520 --> 00:11:07,200 Speaker 1: the final notes of the song ring out, I feel 149 00:11:07,200 --> 00:11:11,200 Speaker 1: like it's finally over, like I've processed it all. The 150 00:11:11,280 --> 00:11:15,120 Speaker 1: song was Murder Most Foul. It would be my first 151 00:11:15,240 --> 00:11:18,400 Speaker 1: number one single as a solo artist, my first number 152 00:11:18,400 --> 00:11:22,680 Speaker 1: one ever at seventy nine years of age. I guess 153 00:11:22,760 --> 00:11:26,600 Speaker 1: change is always possible, regardless of age or time. That's 154 00:11:26,600 --> 00:11:32,040 Speaker 1: what we've been talking about all this time. Looking back now, 155 00:11:32,120 --> 00:11:34,320 Speaker 1: it's hard to say what the world would be like 156 00:11:34,360 --> 00:11:39,960 Speaker 1: without that murder. That day with JFK changed everything. But 157 00:11:40,080 --> 00:11:42,960 Speaker 1: like I said, when there is no change, that's when 158 00:11:42,960 --> 00:11:46,560 Speaker 1: things can get ugly, and things were about to get ugly. 159 00:12:17,760 --> 00:12:21,320 Speaker 1: I only lied to protect myself to make a change. 160 00:12:22,280 --> 00:12:25,520 Speaker 1: Otherwise I wouldn't be talking to you now. Do you 161 00:12:25,600 --> 00:12:35,040 Speaker 1: understand I'm pissed? You've seen the news. It's sickened me 162 00:12:35,080 --> 00:12:37,920 Speaker 1: to tell you the truth. When I saw it, I 163 00:12:37,960 --> 00:12:42,440 Speaker 1: don't know. It was beyond ugly. I pray that justice 164 00:12:42,480 --> 00:12:46,040 Speaker 1: is swift. I've been singing about this stuff for so 165 00:12:46,080 --> 00:12:50,120 Speaker 1: long now, the stuff in the news years, I've been 166 00:12:50,160 --> 00:12:56,080 Speaker 1: singing about it, and it never changes. When there's no change, 167 00:12:56,840 --> 00:12:59,920 Speaker 1: ugly things happen. How can I explain this to you? 168 00:13:01,200 --> 00:13:03,559 Speaker 1: I guess to really understand what I'm trying to get at, 169 00:13:04,160 --> 00:13:07,000 Speaker 1: we have to go back, but not to look at 170 00:13:07,000 --> 00:13:10,000 Speaker 1: our past. We have to go back to our past 171 00:13:10,200 --> 00:13:17,480 Speaker 1: to understand our future generations ago. What's past is prologue. 172 00:13:18,280 --> 00:13:21,640 Speaker 1: You can thank Bill Shakespeare for that. If we keep 173 00:13:21,679 --> 00:13:27,080 Speaker 1: making the same mistakes, well hell, we're all doomed and 174 00:13:27,160 --> 00:13:30,480 Speaker 1: we might be. You know, any minute now. The world 175 00:13:30,480 --> 00:13:37,560 Speaker 1: could explode because we never learned. Look. On February eight, 176 00:13:39,960 --> 00:13:43,720 Speaker 1: William Zantzinger walks into the seventeen story Emerson Hotel in 177 00:13:43,800 --> 00:13:47,440 Speaker 1: downtown Baltimore. Yeah, I got his name right this time. 178 00:13:48,640 --> 00:13:52,440 Speaker 1: Zantzinger is the son of a Maryland state politician. He 179 00:13:52,600 --> 00:13:56,480 Speaker 1: himself is a pretty successful guy too. He's a tobacco 180 00:13:56,600 --> 00:13:59,480 Speaker 1: farmer by trade, but he's also one of those socialite 181 00:13:59,480 --> 00:14:04,520 Speaker 1: types He moves with a cold, brutal confidence, a kind 182 00:14:04,600 --> 00:14:08,640 Speaker 1: only the young and successful possess. He's dressed smartly for 183 00:14:08,720 --> 00:14:11,920 Speaker 1: a ball, and despite being young, he is already rich. 184 00:14:13,120 --> 00:14:15,640 Speaker 1: Heren's enough money to do whatever the hell he wants 185 00:14:15,640 --> 00:14:22,280 Speaker 1: in life. Trees grow tall, His fingertips are yellowed and 186 00:14:22,400 --> 00:14:26,560 Speaker 1: nicotine stained. His finger nails are full of dirt, completely 187 00:14:26,600 --> 00:14:29,960 Speaker 1: out of place with his pristine suit. You can tell, 188 00:14:30,080 --> 00:14:33,720 Speaker 1: despite his money, he doesn't quite fit in here. He 189 00:14:33,800 --> 00:14:36,640 Speaker 1: walks through the large brass doors under the huge hotel 190 00:14:36,720 --> 00:14:40,520 Speaker 1: canopy with a smile plastered all over his face. He 191 00:14:40,680 --> 00:14:43,520 Speaker 1: checks his coat at the lobby, but he holds onto 192 00:14:43,520 --> 00:14:46,280 Speaker 1: his cane. He twirls it around his fingers as he 193 00:14:46,360 --> 00:14:50,040 Speaker 1: surveys the hotel's interior. By the time he leaves the 194 00:14:50,080 --> 00:14:55,560 Speaker 1: hotel that day, he will have killed someone. Fifty seven 195 00:14:55,640 --> 00:14:58,480 Speaker 1: years later in Minneapolis, in my home state of Minnesota, 196 00:14:59,600 --> 00:15:05,360 Speaker 1: it's the evening of May. Officer Derek Chauvin's radio crackles 197 00:15:05,360 --> 00:15:08,920 Speaker 1: to life. He answers it and heads to the intersection 198 00:15:08,920 --> 00:15:13,520 Speaker 1: of Chicago Avenue in East Street. Chauvin is an officer 199 00:15:13,520 --> 00:15:15,800 Speaker 1: who has been with the department for over eighteen years. 200 00:15:16,760 --> 00:15:19,880 Speaker 1: He carries with him eighteen complaints from the Minnesota Police 201 00:15:19,880 --> 00:15:26,360 Speaker 1: Department's internal affairs, there is no change. By the time 202 00:15:26,400 --> 00:15:31,280 Speaker 1: he ends his shift, he will have killed someone. Back 203 00:15:31,320 --> 00:15:35,320 Speaker 1: in nineteen sixty three, at the Emerson Hotel, Spinster's Ball 204 00:15:35,440 --> 00:15:39,440 Speaker 1: is well underway. The famous Howard Lannon orchestra plays as 205 00:15:39,520 --> 00:15:44,680 Speaker 1: Zantzinger drinks. Pretty soon he's pretty drunk. He's having the 206 00:15:44,680 --> 00:15:49,680 Speaker 1: time of his life, hollering, laughing, throwing jokes around the usual. 207 00:15:50,840 --> 00:15:53,720 Speaker 1: When a waitress comes to deliver him yet more whiskey, 208 00:15:53,960 --> 00:15:56,120 Speaker 1: he taps her lightly on the back with his cane, 209 00:15:56,680 --> 00:15:59,480 Speaker 1: grinning as he does. I guess it's his way of 210 00:15:59,520 --> 00:16:03,080 Speaker 1: saying thanks. Que. Later, he moves to the dance floor, 211 00:16:03,240 --> 00:16:06,160 Speaker 1: spinning his wife around, and as the music ramps up, 212 00:16:06,520 --> 00:16:10,000 Speaker 1: the sweat pours off a zance singer faster faster as 213 00:16:10,040 --> 00:16:14,040 Speaker 1: he goes. His wife tries to slow him down. I'm 214 00:16:14,040 --> 00:16:20,480 Speaker 1: freda stare, he shouts. New people are born every day now. 215 00:16:21,040 --> 00:16:23,520 Speaker 1: I don't know because I wasn't there, but I'm willing 216 00:16:23,560 --> 00:16:27,760 Speaker 1: to bed. He wasn't moving like Freda Stare. After spinning around, 217 00:16:27,800 --> 00:16:34,040 Speaker 1: he drops to the floor. Hard. Life doesn't stop. A 218 00:16:34,160 --> 00:16:36,720 Speaker 1: bell hop runs over to help him up. But zan 219 00:16:36,840 --> 00:16:39,680 Speaker 1: singer shoves him then hits him hard with his cane. 220 00:16:40,880 --> 00:16:43,520 Speaker 1: After that, he jumps up and strolls to the side 221 00:16:43,520 --> 00:16:46,040 Speaker 1: of the dance floor, looks over to the bar and 222 00:16:46,160 --> 00:16:55,600 Speaker 1: decides to have another drink. Back in Minneapolis, May PM 223 00:16:55,640 --> 00:16:59,560 Speaker 1: officer Derek Chauvin and his partner Too Thou arrive in 224 00:16:59,560 --> 00:17:02,640 Speaker 1: their square vodka outside a grocery store called Cup Foods. 225 00:17:04,160 --> 00:17:06,960 Speaker 1: They're informed by other police officers at the scene that 226 00:17:07,040 --> 00:17:10,119 Speaker 1: a man has just purchased cigarettes, but a store employee 227 00:17:10,119 --> 00:17:14,199 Speaker 1: believes he used a counterfeit twenty dollar bill. Chauvin is 228 00:17:14,240 --> 00:17:17,480 Speaker 1: now the senior ranking official and he instantly takes control. 229 00:17:19,240 --> 00:17:21,800 Speaker 1: He sees a fellow officer struggling to get the suspect 230 00:17:21,840 --> 00:17:24,760 Speaker 1: into the police car, while someone behind them films the 231 00:17:24,800 --> 00:17:27,840 Speaker 1: whole scene on their cell phone. Sometimes things can change 232 00:17:27,840 --> 00:17:32,359 Speaker 1: in an instant. It's footage the entire world will end 233 00:17:32,440 --> 00:17:36,480 Speaker 1: up scene. Chauvin joins the struggle. After a few minutes, 234 00:17:36,480 --> 00:17:39,479 Speaker 1: the suspect is on the deck surrounded by blue shirts. 235 00:17:40,440 --> 00:17:45,920 Speaker 1: He's faced down, struggling. He's clearly in distress, but they 236 00:17:46,000 --> 00:17:49,600 Speaker 1: keep him down. He pulls his head up and shouts, 237 00:17:50,200 --> 00:17:53,040 Speaker 1: I can't breathe that's what we've been talking about all 238 00:17:53,040 --> 00:17:57,960 Speaker 1: the time. He says that another sixteen times in the 239 00:17:58,040 --> 00:18:05,800 Speaker 1: next five minutes. In Baltimore, Zantzinger strides up to the 240 00:18:05,800 --> 00:18:09,080 Speaker 1: bar and pounds on it, looking to be served. Standing 241 00:18:09,080 --> 00:18:11,560 Speaker 1: across from him as a waitress just finishing up another 242 00:18:11,680 --> 00:18:16,680 Speaker 1: order a whiskey, he says loudly. The waitress asks him 243 00:18:16,720 --> 00:18:19,760 Speaker 1: to wait a moment. Zant Singer's eyes narrow and his 244 00:18:19,920 --> 00:18:24,800 Speaker 1: lips curl up. Excuse me, he barks. Words then tumble 245 00:18:24,880 --> 00:18:27,960 Speaker 1: from his mouth, ones that I wouldn't care to repeat now. 246 00:18:28,880 --> 00:18:32,840 Speaker 1: Words that can scorn and shame a person, words that 247 00:18:32,840 --> 00:18:36,400 Speaker 1: can ridicule and damage anyone. Things can change in an instant. 248 00:18:38,840 --> 00:18:41,960 Speaker 1: But that's not enough for him. He leans over and 249 00:18:42,040 --> 00:18:45,840 Speaker 1: raises his cane above his head. He brings it down hard, 250 00:18:45,920 --> 00:18:48,400 Speaker 1: and it lands on the skin and bone of the waitress. 251 00:18:49,600 --> 00:18:52,680 Speaker 1: When he connects with force. He draws the cane back 252 00:18:52,720 --> 00:18:57,040 Speaker 1: and does it again and again and again. A man 253 00:18:57,200 --> 00:19:04,160 Speaker 1: losing control. The waitress collapses once again. Zantzinger is sweating 254 00:19:07,880 --> 00:19:12,040 Speaker 1: in Minneapolis outside cup Foods. Officer Chauvin has his knee 255 00:19:12,080 --> 00:19:16,160 Speaker 1: over the suspect's neck. Another officer radios for a code 256 00:19:16,160 --> 00:19:20,399 Speaker 1: to assistance for a non medical emergency, but when they 257 00:19:20,440 --> 00:19:23,560 Speaker 1: see blood coming from the suspect's mouth, they upgrade it 258 00:19:23,600 --> 00:19:29,639 Speaker 1: to a Code three. By the time the ambulance reaches 259 00:19:29,680 --> 00:19:35,920 Speaker 1: the scene, the suspect is unresponsive. In Baltimore, Zantzinger isn't done. 260 00:19:37,000 --> 00:19:39,200 Speaker 1: When his wife tries to calm him down, she ends 261 00:19:39,280 --> 00:19:42,600 Speaker 1: up on the floor. He screams and shouts as the 262 00:19:42,720 --> 00:19:47,760 Speaker 1: orchestra Howard Lennon plays on the waitresses in the back room, 263 00:19:47,760 --> 00:19:51,640 Speaker 1: her face flooded with tears. An ambulance is on its way, 264 00:19:52,400 --> 00:19:55,120 Speaker 1: but it won't be able to help her. She will die. 265 00:19:55,200 --> 00:20:00,320 Speaker 1: Just hours later. In Minneapolis, the susp act with the 266 00:20:00,400 --> 00:20:03,119 Speaker 1: supposedly fake twenty dollar bill is pronounced dead in a 267 00:20:03,200 --> 00:20:09,199 Speaker 1: hospital soon after he arrives there in an ambulance. His 268 00:20:09,320 --> 00:20:14,159 Speaker 1: name was George Floyd. Her name was Hattie Carroll. What 269 00:20:14,240 --> 00:20:17,520 Speaker 1: do they both have in common? The color of their skin? 270 00:20:20,720 --> 00:20:24,040 Speaker 1: How long have I been singing about this ship? Bitter, disillusioned? 271 00:20:26,119 --> 00:20:29,119 Speaker 1: How long has this been going on? For? Will this 272 00:20:29,200 --> 00:20:34,120 Speaker 1: ever change? And never through with this? A large part 273 00:20:34,119 --> 00:20:36,320 Speaker 1: of my work has revolved around this stuff and for 274 00:20:36,359 --> 00:20:41,760 Speaker 1: what for there to be no change? And people wonder 275 00:20:41,800 --> 00:20:45,480 Speaker 1: why I gave up my finger pointing songs. This is 276 00:20:45,520 --> 00:20:53,840 Speaker 1: what happens when change doesn't occur. We'll be right back 277 00:20:54,080 --> 00:21:05,880 Speaker 1: after this word were word, I have to confess. It's 278 00:21:05,920 --> 00:21:07,960 Speaker 1: finally time for you to know what happened that day, 279 00:21:08,920 --> 00:21:13,200 Speaker 1: how all of this began, Why all this began? This 280 00:21:13,359 --> 00:21:21,960 Speaker 1: is the truth. Truth. It's a funny thing these days. 281 00:21:22,000 --> 00:21:25,200 Speaker 1: You can take the truth and make it fluid. Mark 282 00:21:25,240 --> 00:21:28,280 Speaker 1: Twain once said, a lie can travel around the world 283 00:21:28,280 --> 00:21:30,879 Speaker 1: and back again while the truth is lacing up its boots. 284 00:21:32,200 --> 00:21:35,280 Speaker 1: And sure, I've lied, I've lied to you before, but 285 00:21:35,960 --> 00:21:39,680 Speaker 1: what are you gonna do? That's life. I talk out 286 00:21:39,760 --> 00:21:42,520 Speaker 1: both sides of my mouth, and what you here depends 287 00:21:42,520 --> 00:21:45,480 Speaker 1: on which side you're standing. Things can change in an instant. 288 00:21:47,800 --> 00:21:49,560 Speaker 1: The only truth in the world is that there isn't 289 00:21:49,600 --> 00:21:53,480 Speaker 1: any don't blame me for that. But I never changed 290 00:21:53,480 --> 00:21:57,400 Speaker 1: the truth completely, never made it void of form, never 291 00:21:57,440 --> 00:22:02,920 Speaker 1: distorted it beyond all recognition. I bent it, invented it. 292 00:22:04,080 --> 00:22:08,200 Speaker 1: It still had truth at the core. I used truth. 293 00:22:09,240 --> 00:22:11,679 Speaker 1: I used truth for change, and I used the truth 294 00:22:11,720 --> 00:22:18,199 Speaker 1: to change. Change never stops. So listen up. This is 295 00:22:18,240 --> 00:22:21,479 Speaker 1: the truth. Remember when I first started talking to you. 296 00:22:22,040 --> 00:22:24,520 Speaker 1: The thing that brought this all on. That's all we've 297 00:22:24,520 --> 00:22:29,200 Speaker 1: ever talked about. The crash I had on my bike. 298 00:22:30,240 --> 00:22:32,040 Speaker 1: I told you about how I ended up at Dr 299 00:22:32,119 --> 00:22:35,879 Speaker 1: Saylor's house, right. I was riding on my motorbike and 300 00:22:35,920 --> 00:22:38,520 Speaker 1: I ended up flat on the pavement in Woodstock, Remember 301 00:22:40,080 --> 00:22:46,000 Speaker 1: the crash that almost killed me. Transfiguration is changed. I 302 00:22:46,080 --> 00:22:49,200 Speaker 1: told you I left my manager's house. I'd gone there 303 00:22:49,200 --> 00:22:52,720 Speaker 1: to get my bike and take it home. Sarah, my 304 00:22:52,800 --> 00:22:56,280 Speaker 1: wife at the time, she was with me. That's all true. 305 00:22:57,600 --> 00:22:59,640 Speaker 1: I left on the bike and she followed me home 306 00:22:59,680 --> 00:23:02,919 Speaker 1: in the are. When she found me minutes later, I 307 00:23:02,960 --> 00:23:05,760 Speaker 1: was all beaten up on the road, left half dead 308 00:23:05,800 --> 00:23:10,160 Speaker 1: by a crash, my neck in a state, my legs crooked, 309 00:23:11,000 --> 00:23:13,960 Speaker 1: my head having taken a whack. New people are born 310 00:23:14,119 --> 00:23:19,080 Speaker 1: every day. It was the sun that did it. That 311 00:23:19,280 --> 00:23:21,399 Speaker 1: and the oil on the road and the breaks of 312 00:23:21,440 --> 00:23:25,760 Speaker 1: the bike. They all put me on the pavement that day. 313 00:23:25,760 --> 00:23:30,760 Speaker 1: But then again, maybe not. Let me tell you what 314 00:23:30,840 --> 00:23:34,119 Speaker 1: really happened. Let me tell you what really happened on 315 00:23:34,160 --> 00:23:36,720 Speaker 1: that day in Woodstock, the day that Bob Dylan died. 316 00:23:38,080 --> 00:23:41,240 Speaker 1: And hey, don't just take my word for it, take 317 00:23:41,240 --> 00:23:43,600 Speaker 1: the word of everyone you've met during our time together. 318 00:23:45,040 --> 00:23:50,440 Speaker 1: Let me explain. Actually, let Lucky Wilbury explain. He's seen 319 00:23:50,480 --> 00:23:54,240 Speaker 1: it all happen, he knows the score. Tell him, Lucky. 320 00:23:55,480 --> 00:23:58,560 Speaker 1: The Willberry people are not liar, so I'll be straight 321 00:23:58,600 --> 00:24:02,040 Speaker 1: with you. Like I said, I'd gone to Albert's house 322 00:24:02,080 --> 00:24:05,159 Speaker 1: to get my motorbike and a j S five hundred 323 00:24:05,200 --> 00:24:09,240 Speaker 1: that previously belonged to Rambling Jack Elliott. That's wrong. There 324 00:24:09,280 --> 00:24:12,320 Speaker 1: was a triumph. I don't think it was. Are you 325 00:24:12,400 --> 00:24:19,520 Speaker 1: questioning me? I'm a help. We know, ad Bice. Okay, okay, sorry, 326 00:24:19,800 --> 00:24:23,960 Speaker 1: it was a triumph to one hundred. Yes, a triumph 327 00:24:24,000 --> 00:24:27,639 Speaker 1: T one hundred. Thanks. I got onto the bike that 328 00:24:27,720 --> 00:24:31,080 Speaker 1: day with Sarah just behind me in the car. I 329 00:24:31,119 --> 00:24:32,959 Speaker 1: gave her a nod, and then I set off as 330 00:24:33,000 --> 00:24:37,760 Speaker 1: fast as I could man the road. I remember what 331 00:24:37,880 --> 00:24:41,120 Speaker 1: it was like to be free. It was like drinking 332 00:24:41,119 --> 00:24:45,960 Speaker 1: and fine glass of whiskey. It was pure joy. It 333 00:24:46,040 --> 00:24:49,720 Speaker 1: felt like anything could happen in that moment. I remind 334 00:24:49,760 --> 00:24:54,040 Speaker 1: myself of that these days. It helps me remember how 335 00:24:54,080 --> 00:24:59,160 Speaker 1: you can feel. I shot down the hill, the wind 336 00:24:59,200 --> 00:25:02,520 Speaker 1: billowing around me. I was like an arrow cutting through it. 337 00:25:02,520 --> 00:25:04,600 Speaker 1: It felt like the spirit of the Lord was with me, 338 00:25:04,800 --> 00:25:07,960 Speaker 1: looking back now. It was the very same feeling I 339 00:25:08,000 --> 00:25:10,399 Speaker 1: had in that hotel room in Tucson when Jesus had 340 00:25:10,400 --> 00:25:14,040 Speaker 1: appeared in front of me. Faster and faster I went. 341 00:25:15,320 --> 00:25:17,760 Speaker 1: It felt like the first time I met Woody got Frey. 342 00:25:18,160 --> 00:25:21,320 Speaker 1: It was a thrill. I've been toring and working for 343 00:25:21,359 --> 00:25:23,800 Speaker 1: so long at that time, I had almost forgotten what 344 00:25:23,880 --> 00:25:26,919 Speaker 1: it was like to be free. The thrill of actually 345 00:25:26,960 --> 00:25:30,920 Speaker 1: having a feeling you've been searching for so long, having 346 00:25:30,960 --> 00:25:37,240 Speaker 1: that watch over you was exhilarating. I suddenly thought to myself, 347 00:25:37,960 --> 00:25:44,520 Speaker 1: this is what I've been missing. This freedom. Freedom, Yes, freedom, 348 00:25:44,560 --> 00:25:46,879 Speaker 1: There's no freedom like the freedom of riding the beast. 349 00:25:48,240 --> 00:25:51,840 Speaker 1: I felt so lost, though I knew that after this ride, 350 00:25:52,400 --> 00:25:56,240 Speaker 1: this single little ride, I'd be back to it, back 351 00:25:56,280 --> 00:25:59,760 Speaker 1: to the tours, back to the sessions, back to the 352 00:26:00,080 --> 00:26:03,879 Speaker 1: less goddamn questions, back to the grind bless of the 353 00:26:04,080 --> 00:26:07,960 Speaker 1: goddamn please. I felt like this was the only slice 354 00:26:08,000 --> 00:26:11,040 Speaker 1: of freedom might get for a long time. Then it 355 00:26:11,160 --> 00:26:15,280 Speaker 1: suddenly hit me, out of nowhere, I realized I could change. 356 00:26:17,200 --> 00:26:20,040 Speaker 1: It suddenly occurred to me what transfiguration could offer me. 357 00:26:21,320 --> 00:26:24,439 Speaker 1: This is your way out, I thought, this is your escape. 358 00:26:26,359 --> 00:26:29,560 Speaker 1: There was no oils. Slip oil slicks can't tumble a 359 00:26:29,600 --> 00:26:34,320 Speaker 1: triumph anyway. I wasn't drunk, and it wasn't the black springs. 360 00:26:36,160 --> 00:26:40,320 Speaker 1: There was no sun in my eyes either. It was 361 00:26:40,400 --> 00:26:43,920 Speaker 1: just me, me making a decision to get out, to 362 00:26:44,119 --> 00:26:50,119 Speaker 1: end it all. Two transfigure. The universe gave me an 363 00:26:50,119 --> 00:26:53,720 Speaker 1: opportunity on that road, and I took it. Anyone who 364 00:26:53,720 --> 00:26:57,760 Speaker 1: has died has been freed from sin. Christ was raised 365 00:26:57,760 --> 00:27:02,439 Speaker 1: from the dead. He cannot die again. Death no longer 366 00:27:02,480 --> 00:27:13,040 Speaker 1: has mastery over him dead. I saw the road stretching 367 00:27:13,040 --> 00:27:15,920 Speaker 1: out ahead, and I pushed down hard on the accelerator, 368 00:27:16,640 --> 00:27:20,640 Speaker 1: and then I steered hard to the right. I knew 369 00:27:20,640 --> 00:27:22,400 Speaker 1: if I made it feel like it was real, then 370 00:27:22,440 --> 00:27:28,879 Speaker 1: it would be real. There's always another day. The bike's getted. 371 00:27:29,440 --> 00:27:33,720 Speaker 1: Dropping to the side, I heard metal crunch against the asphalt. 372 00:27:34,400 --> 00:27:37,600 Speaker 1: Spark flashed past my eyes, and smoke rose up from 373 00:27:37,600 --> 00:27:43,960 Speaker 1: the tires. There was this awful screeching sound. Then it happened, 374 00:27:44,440 --> 00:27:50,440 Speaker 1: another sunrise. I was thrown off up into the air. 375 00:27:50,520 --> 00:27:53,439 Speaker 1: I went, the bike spinning out in front of me 376 00:27:53,800 --> 00:27:57,399 Speaker 1: down the road. I felt like I hung there for 377 00:27:57,440 --> 00:28:01,000 Speaker 1: a second, and then I dropped. I could feel my 378 00:28:01,040 --> 00:28:04,119 Speaker 1: stomach churn. It danced like a cart wheel. As I 379 00:28:04,200 --> 00:28:07,840 Speaker 1: hit the ground with a thud, leaves fall, rivers dry up. 380 00:28:10,080 --> 00:28:12,359 Speaker 1: I landed on my side and I felt pain course 381 00:28:12,440 --> 00:28:16,240 Speaker 1: through me, but on my face there was a smile. 382 00:28:17,960 --> 00:28:22,240 Speaker 1: To be honest, the fall wasn't bad. Sure it was painful, 383 00:28:22,280 --> 00:28:25,680 Speaker 1: but not too bad. I lay there on the road 384 00:28:25,760 --> 00:28:29,199 Speaker 1: looking up at the sky. It looked so vast, I 385 00:28:29,280 --> 00:28:33,800 Speaker 1: felt so small. I felt part of something bigger, bigger 386 00:28:33,800 --> 00:28:38,000 Speaker 1: than myself, bigger than just one man. Change never stops. 387 00:28:41,240 --> 00:28:45,880 Speaker 1: Then there was silence. I felt at peace for the 388 00:28:45,920 --> 00:28:51,680 Speaker 1: first time in years. Look, I was burnt out. If 389 00:28:51,720 --> 00:28:55,120 Speaker 1: I had continued like that, If I had continued as 390 00:28:55,120 --> 00:29:00,280 Speaker 1: that Bob Dylan, so called Voice of a Generation, mh 391 00:29:00,800 --> 00:29:04,800 Speaker 1: the one everyone knew, I would have died. And I 392 00:29:04,840 --> 00:29:06,960 Speaker 1: don't mean I would have died and then been reborn, 393 00:29:07,760 --> 00:29:13,200 Speaker 1: I mean dead in the cold, hard ground routing. Instead, 394 00:29:13,240 --> 00:29:15,880 Speaker 1: I became something new and kept applying that every step 395 00:29:15,960 --> 00:29:20,480 Speaker 1: of the way, life isn't about finding yourself, It's about 396 00:29:20,520 --> 00:29:25,560 Speaker 1: inventing yourself. That woodstock asphalt witnessed the end of a life, 397 00:29:25,800 --> 00:29:29,960 Speaker 1: but the beginning of a new one. And that is 398 00:29:30,000 --> 00:29:35,080 Speaker 1: the truth. Well that's my story. And I'm sticking to 399 00:29:35,160 --> 00:30:09,160 Speaker 1: it for now anyway. Officer Christie Bubble stands on Second 400 00:30:09,200 --> 00:30:12,880 Speaker 1: Avenue in Long Branch, New Jersey. The rain pommels against 401 00:30:12,960 --> 00:30:15,800 Speaker 1: the road as she walks. The water drips off her hat, 402 00:30:16,040 --> 00:30:19,800 Speaker 1: causing a mini waterfall right before her eyes. The sky 403 00:30:19,920 --> 00:30:23,160 Speaker 1: above her is gray. Even though it's daytime, it feels 404 00:30:23,200 --> 00:30:26,880 Speaker 1: like the dead of night. Officer Bubble is alone and 405 00:30:26,920 --> 00:30:29,680 Speaker 1: can already feel the familiar mixed feeling of fear and 406 00:30:29,720 --> 00:30:33,400 Speaker 1: adrenaline rising in her body. It always feels like this 407 00:30:33,520 --> 00:30:37,040 Speaker 1: when she's working alone in this job. You never know 408 00:30:37,120 --> 00:30:39,240 Speaker 1: what it's about to happen or who you're about to 409 00:30:39,240 --> 00:30:44,360 Speaker 1: come across. She moves slowly, walking around the deserted residential neighborhood, 410 00:30:44,440 --> 00:30:47,920 Speaker 1: scanning the streets as she does. Her eyes fall on 411 00:30:47,920 --> 00:30:51,240 Speaker 1: an alley between two houses. The Atlantic Ocean looms in 412 00:30:51,280 --> 00:30:55,880 Speaker 1: the background. She sees a hooded figure. She knows it's him. 413 00:30:55,920 --> 00:30:59,400 Speaker 1: It's the man operator had received a call about only 414 00:30:59,440 --> 00:31:02,240 Speaker 1: twenty minutes ago, the man that had been walking around 415 00:31:02,240 --> 00:31:07,640 Speaker 1: this neighborhood acting suspiciously. He fits the description. Older male, 416 00:31:07,840 --> 00:31:11,400 Speaker 1: possibly homeless, stressed in a hooded coat. He stands with 417 00:31:11,480 --> 00:31:16,480 Speaker 1: his back to her unconcerned by the rain, she advances slowly. 418 00:31:17,040 --> 00:31:20,080 Speaker 1: In one hand she carries her flashlight while the other 419 00:31:20,200 --> 00:31:23,680 Speaker 1: lingers just off her hip. Through the rain and gray light. 420 00:31:23,840 --> 00:31:27,440 Speaker 1: She calls out, sir, and there's no reply in her 421 00:31:27,440 --> 00:31:30,400 Speaker 1: hand moves closer to her hip as she calls again, sir. 422 00:31:31,520 --> 00:31:34,320 Speaker 1: The hooded man's back is turned to her and he's 423 00:31:34,360 --> 00:31:37,920 Speaker 1: not moving. Her flashlight darts to both of his hands, 424 00:31:37,920 --> 00:31:40,960 Speaker 1: and she asked the man to turn around. Slowly, she 425 00:31:41,040 --> 00:31:43,320 Speaker 1: grits her teeth. And this is the bit she hates 426 00:31:43,400 --> 00:31:45,360 Speaker 1: the most, the bit where you don't know what it 427 00:31:45,440 --> 00:31:48,640 Speaker 1: is it's going to happen. Despite being twenty two years 428 00:31:48,640 --> 00:31:52,120 Speaker 1: old and a relatively new officer, she's seen this moment 429 00:31:52,160 --> 00:31:55,760 Speaker 1: what seems to be a thousand times before. She begins 430 00:31:55,760 --> 00:31:57,840 Speaker 1: to once again ask the man to turn around, when 431 00:31:58,080 --> 00:32:01,920 Speaker 1: suddenly starts to slowly turn. Her hand now touches the 432 00:32:01,920 --> 00:32:04,480 Speaker 1: butt of her gun, and the rain is soaking her through, 433 00:32:04,560 --> 00:32:08,280 Speaker 1: but she still remains stoic in her approach. The figure 434 00:32:08,320 --> 00:32:13,920 Speaker 1: turns around and she finally relaxes under arrest. Yes, the 435 00:32:14,040 --> 00:32:18,120 Speaker 1: rain nearly drowning out his words. No, She tells him 436 00:32:18,160 --> 00:32:21,760 Speaker 1: it's fine. She just has a few questions and the 437 00:32:21,800 --> 00:32:28,080 Speaker 1: man is silent. She tells them they received a report 438 00:32:28,080 --> 00:32:31,840 Speaker 1: of a man looking into some houses, moving suspiciously. She 439 00:32:31,920 --> 00:32:35,080 Speaker 1: asked the man his name, shining her torch on his face. 440 00:32:35,880 --> 00:32:39,040 Speaker 1: She always asked her names straight away, helps get people 441 00:32:39,080 --> 00:32:42,200 Speaker 1: on her side as quickly as possible to build a relationship. 442 00:32:43,160 --> 00:32:45,680 Speaker 1: For the first time, the man's eyes meet her eyes 443 00:32:46,320 --> 00:32:48,880 Speaker 1: and she can see them clearly through the rain. Blue, 444 00:32:49,240 --> 00:32:53,160 Speaker 1: tired but full of wisdom, he wipes the rain off 445 00:32:53,160 --> 00:32:59,280 Speaker 1: his face. I'm Bob Dylan. Five minutes later, the man 446 00:32:59,440 --> 00:33:01,840 Speaker 1: calling him off. Bob Dylan sits in the back of 447 00:33:01,840 --> 00:33:05,280 Speaker 1: Officer bubbles squad car. Her training is kicked in and 448 00:33:05,360 --> 00:33:08,400 Speaker 1: she is questioning him from the front seat. She asked 449 00:33:08,440 --> 00:33:10,240 Speaker 1: if Bob Dylan is his real name or if he 450 00:33:10,320 --> 00:33:13,479 Speaker 1: has another. In her mind races maybe he's playing a character. 451 00:33:13,480 --> 00:33:16,680 Speaker 1: Maybe he thinks he's actually Bob Dylan. Her train of 452 00:33:16,720 --> 00:33:18,760 Speaker 1: thought is interrupted by the man in the back seat. 453 00:33:19,480 --> 00:33:21,520 Speaker 1: There's a lot of other names, lots of things have 454 00:33:21,640 --> 00:33:24,440 Speaker 1: been called, too many to mention and many to remember, 455 00:33:24,560 --> 00:33:29,520 Speaker 1: and all honesty. Officer Bubble sticks with Bob. She asked 456 00:33:29,600 --> 00:33:34,040 Speaker 1: him why he was wandering around rain. He tells Bubble 457 00:33:34,080 --> 00:33:36,040 Speaker 1: that today is a day off from his tour and 458 00:33:36,040 --> 00:33:38,040 Speaker 1: that he wanted to use that day to walk through 459 00:33:38,040 --> 00:33:41,520 Speaker 1: a different neighborhood. It's become a hobby of his, escaping 460 00:33:41,520 --> 00:33:45,680 Speaker 1: the grind of the road and experiencing normal life. Bubble 461 00:33:45,720 --> 00:33:48,080 Speaker 1: now convinced he's not a threat to anyone, and again 462 00:33:48,160 --> 00:33:51,320 Speaker 1: remembering her training, No, she has to get the man 463 00:33:51,360 --> 00:33:54,360 Speaker 1: back to the house or facility that he came from. 464 00:33:54,440 --> 00:33:58,680 Speaker 1: Are you staying anywhere, Bob? She askes? House, hospital, hotel, 465 00:34:00,320 --> 00:34:03,520 Speaker 1: and the man stares out the window. A hotel, a 466 00:34:03,600 --> 00:34:08,239 Speaker 1: hotel by the ocean. Bubble drives while the man in 467 00:34:08,280 --> 00:34:12,160 Speaker 1: the back seat directs her. He talks and talks and talks. 468 00:34:12,600 --> 00:34:15,960 Speaker 1: He mentioned songs, people and houses. He talks of homes 469 00:34:16,000 --> 00:34:19,560 Speaker 1: he has in London, California, in New York. Bubble asks 470 00:34:19,560 --> 00:34:22,359 Speaker 1: if he has a house in this neighborhood. Shakes his head. 471 00:34:23,080 --> 00:34:25,560 Speaker 1: I saw a house of the for sale sign, he says, 472 00:34:25,840 --> 00:34:27,759 Speaker 1: I don't know, I just wanted to check it out. 473 00:34:29,560 --> 00:34:31,800 Speaker 1: Bubble feels a sudden sadness for the man in the 474 00:34:31,840 --> 00:34:35,439 Speaker 1: back of the car. He soaked, he's exhausted, he looks 475 00:34:35,440 --> 00:34:38,040 Speaker 1: like he's lived a thousand lies. But it's still searching 476 00:34:38,080 --> 00:34:42,399 Speaker 1: for something. He reminds her of her grandfather. It's just here, 477 00:34:42,560 --> 00:34:46,200 Speaker 1: he says, pointing to a large hotel. As Bubble drives 478 00:34:46,200 --> 00:34:49,160 Speaker 1: into the Spring Lake Hotel parking lot, fully expecting this 479 00:34:49,320 --> 00:34:51,759 Speaker 1: to not be the place the man is staying, she 480 00:34:51,960 --> 00:34:55,839 Speaker 1: radios for assistance. She requests a six eighteen a check 481 00:34:55,920 --> 00:34:58,200 Speaker 1: on all the local hospitals and facilities to see if 482 00:34:58,200 --> 00:35:01,080 Speaker 1: any patient is missing. She pulls her car around to 483 00:35:01,120 --> 00:35:03,520 Speaker 1: the front of the building, and as she does catches 484 00:35:03,560 --> 00:35:06,200 Speaker 1: sight of four huge tour buses parked to the left 485 00:35:06,200 --> 00:35:10,640 Speaker 1: of the entrance. She stops the car in silence. The 486 00:35:10,680 --> 00:35:12,960 Speaker 1: man in the back seat ruffles his stringy, curly mop 487 00:35:13,000 --> 00:35:16,640 Speaker 1: of hair, and she realizes what has happened. She takes 488 00:35:16,640 --> 00:35:20,839 Speaker 1: a beat before picking up her radio again. Cancel last requests, 489 00:35:20,880 --> 00:35:24,399 Speaker 1: she says. Bob Dylan steps out of the cop car. 490 00:35:24,760 --> 00:35:28,000 Speaker 1: His manager, looking sick with worry, is already arguing with 491 00:35:28,040 --> 00:35:33,120 Speaker 1: the police officer. Bob Dylan, however, is uninterested. He strolls 492 00:35:33,160 --> 00:35:35,439 Speaker 1: to the edge of the sidewalk, noticing that the rain 493 00:35:35,560 --> 00:35:38,600 Speaker 1: is stopped and the sun peeks out from behind the clouds, 494 00:35:38,680 --> 00:35:41,000 Speaker 1: and for the first time that day, he feels it 495 00:35:41,040 --> 00:35:44,440 Speaker 1: on his face. It's a feeling he's felt somewhere else, 496 00:35:44,920 --> 00:35:50,520 Speaker 1: a feeling he's felt as someone else. A sense of freedom, 497 00:35:50,640 --> 00:35:53,000 Speaker 1: a sense of getting out of a place that confined him, 498 00:35:53,080 --> 00:35:56,879 Speaker 1: that strangled him. He closes his eyes and then remembers 499 00:35:57,600 --> 00:35:59,879 Speaker 1: it's the same feeling he had all those years ago 500 00:36:00,239 --> 00:36:03,000 Speaker 1: after that crash, the same feeling he had when he 501 00:36:03,080 --> 00:36:06,000 Speaker 1: left the house of Dr. Ed Taylor in Middletown, New York. 502 00:36:06,560 --> 00:36:09,719 Speaker 1: The same sense of freedom. That feeling he had as 503 00:36:09,719 --> 00:36:12,120 Speaker 1: he walked down the path leaving the doctor's house after 504 00:36:12,160 --> 00:36:15,800 Speaker 1: spending what felt like years recovering there. That same feeling 505 00:36:15,880 --> 00:36:20,719 Speaker 1: was back here as he stood outside this hotel. Bob 506 00:36:20,800 --> 00:36:23,520 Speaker 1: Dylan pushes his head up towards the sun and once 507 00:36:23,560 --> 00:36:28,040 Speaker 1: again feels reborn. Bids farewell and does not give a 508 00:36:28,120 --> 00:36:33,319 Speaker 1: damn behind him. He's left multiple lives, many souls, and 509 00:36:33,480 --> 00:36:51,840 Speaker 1: so much blood on the Tracks. Blood on the Tracks 510 00:36:51,840 --> 00:36:55,120 Speaker 1: produced by Double Elvis in partnership with I Heart Radio. 511 00:36:55,440 --> 00:36:59,279 Speaker 1: It's hosted an executive produced by me Jake Brennan. Also 512 00:36:59,360 --> 00:37:03,040 Speaker 1: executive used by Brady sath Zeth Lundie is lead editor 513 00:37:03,120 --> 00:37:06,840 Speaker 1: and producer. This episode was written by Ben Burrow, story 514 00:37:06,880 --> 00:37:10,240 Speaker 1: and copy editing by Pat Healey, Mixing and sound designed 515 00:37:10,280 --> 00:37:14,480 Speaker 1: by Colin Fleming. Additional music and score elements by Ryan Spraaker. 516 00:37:15,160 --> 00:37:18,920 Speaker 1: This episode featured Chris Anzeloni is Bob Dylan. Sources for 517 00:37:18,960 --> 00:37:21,759 Speaker 1: this episode are available at double Elvis dot com on 518 00:37:21,800 --> 00:37:24,920 Speaker 1: the Blood in the Tracks series page, follow Double Elvis 519 00:37:24,920 --> 00:37:28,040 Speaker 1: on Instagram at double Elvis and on Twitch at s 520 00:37:28,040 --> 00:37:30,920 Speaker 1: Graceland Talks, and you can talk to me per Usual 521 00:37:31,080 --> 00:37:34,879 Speaker 1: on Instagram and Twitter at disgrace Land Pod, rock and Roll, 522 00:37:50,080 --> 00:37:50,680 Speaker 1: or Dead